Search results

1

Le rôle des noms propres dans les détournements : Le cas des bandeaux dans un journal télévisé satiriqu

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Davis L.

Academic Journal of Modern Philology

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2020

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vol. 9

79-90

EN

The figure of detournement can be defined as a dialogic phenomenon resulting from the embedding of two utterances into a single utterance. This study is focused on a specific use of this figure: the case of the lower-third in the satirical news broadcast genre. Using a corpus of 56 occurrences from the French TV show, Les Guignols de l’Info, we investigate the role of proper names in the construction of the implicit dialogic meaning inherent to detournements. Our hypothesis is that the spatially hierarchical structure of the two segments which form the lower-third, i.e. a spatially higher segment containing a proper name and a spatially lower one containing an utterance, corresponds to an enunciative hierarchy, in which the interpretation of the second segment relies on the first. We explore two functions that arise from this distinct structure: the nomination of the habitual user(s) of the proper name(s) and the attribution of direct reported speech to the said individual(s). Our aim is to show how these two functions are the result of a dialogic interaction between multiple discourses, activated by the different elements of which the lower-thirds are composed.

2

Pour une étude linguistique du sens en discours - Jacques Bres, Aleksandra Nowakowska, Jean-Marc Sarale, Petite grammaire alphabétique du dialogisme (2019).Éditions Classiques Garnier Paris, Collection Domaines Linguistiques, 420 pages

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Biardzka E.

Academic Journal of Modern Philology

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2020

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vol. 9

23-26

EN

The work presented by Jacques Bres, Aleksandra Nowakowska and Jean-Marc Sarale entitled Petite grammaire alphabétique du dialogisme, published in 2019 by Éditions Classiques Garnier, is in line with so-called praxematic research. The praxematics developed in France in the end of the 1970s following a critical analysis of structuralist approaches. Inspired by enunciative research applauded in France, she questioned the fundamental Saussurian dichotomies: langue/parole (language / speech), signifié/signifiant (signifier / signified), synchronie/diachronie (synchrony / diachrony), as well as the principle of language autonomy in relation to its conditions of production. Praxematic research focuses on meaning understood as a conflicting, historical and dynamic social production leading to conceptual shifts. La Petite grammaire... has a clear, operative and convenient alphabetical presentation. The publication fills a gap in the field of discourse analysis, offering a reference tool in research which is, by the nature of things, very large and heterogeneous. In addition, while the concept of “dialogism” has been very popular in different disciplines for years, it is for the first time, in the presented publication of the PRAXILING laboratory, when its functioning is analysed in linguistic details.

3

Dialogism and classroom interaction in English language teaching: A review of Czech research

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Tůma F.

Pedagogická orientace (Journal of the Czech Pedagogical Society)

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2014

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vol. 24

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issue 6

878-902

EN

The aim of the present study is to review Czech research on classroom interaction in English language teaching. We understand classroom interaction as mutual influencing among a teacher and learners while teaching and learning. We view classroom interaction from the perspective of dialogism, which we use as a theoretical and epistemological framework assuming interaction as a unit of analysis. This review analyzes 9 empirical studies published as journal articles, books, book chapters or Ph.D. dissertations in the years 2006–2014. These studies were critically analyzed in the light of dialogism. Important findings include the fact that a number of studies dealt with teacher talk, mainly teacher questions and the use of the target language and the mother tongue. We compare the areas with the situation abroad as reflected in selected reviews of international research, and outline gaps in Czech research. As regards research methodology (and also theoretical background), a number of studies did not take context into consideration when analyzing classroom. Furthermore, it seems that the activity of individuals (teachers, learners) was the unit of analysis in the majority of studies rather than the interaction itself. These findings seem to suggest that dialogism was not employed in the empirical research to a greater extent.

4

Uruchamianie pamięci osobistej w epistolarnych ujęciach literatury dziecięcej

89%

Niesporek-Szamburska B.

Stylistyka

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2019

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vol. 28

175-191

EN

At the beginning of her article, the author briefly presents the assumptions of memorystudies. She indicates that literature and written forms create some kind of “traces” of memory and shows, among written genres, the letter as a genre particu- larly associated with life and as an auto-narrative personal document. The use of the letter genre in the function of a special medium activating the personal memory of the intra-textual recipient in literature for children and adolescents is the subject of further analysis. In two novels for youth: “Dziewczyna z pomarańczami” (Girl with oranges by Jostein Gaarder) and “Moja droga Aleksandro”(My dear Aleksandra by Krystyna Siesicka), the author analyses the following categories: communicative situation, time variability (experiencing the past, present and future), view point with change ability of focus, perspective change and pronouns, as well as signs of dialogism in texts of literary letters.

5

Между диалогичностью и интертекстуальностью. Проблема текста в тексте на примере рассказа Бориса Лавренева Сорок первый

88%

Chudzińska-Parkosadze A.

Acta Polono-Ruthenica

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2013

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vol. Tom 1 Nr XVIII

7-20

EN

The article deals with two kind of problems - the specification and differences betweenintertextuality defined by Kristeva and concept of dialogue defined by Bakhtin, on the one hand,and the presence of these key categories of the contemporary literary criticism in the story writtenby Boris Lavrenyov The Forty-First, on the other hand. The research refers also to the linksbetween the theory of Kristeva and the poetic of ornamental prose, and shows the key role ofparody in both of them. As the result the author comes to the conclusion that the story is beingconstructively divided into two parts, one of which has got an intertextual character and the otherone dialogical. Moreover, the first category is related to parody, and Bakhtin’s concept of dialogueto tragic nature.

6

Поетика романтичноï монокультурностi та питання дiалопчностi

88%

Bracka M.

Acta Polono-Ruthenica

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2009

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vol. Tom 1 Nr XIV

37-45

EN

The article presents the description of specific character of Polish and Ukrainian literature of romanticism - from one side him monocultural, but from the second - dialogism. Identically Polish romantic literature, as well as Ukrainian, gave advantage cultivation of own cultural, linguistic traditions, aspired to the recreation of own picture of the world, monofonism. But as a result of different type of geographical, political, administration, public factors there are processes of contacts and imposition of national cultural spheres, in that literary, created „boundary areas”, that is different commented through researchers. It were analysed concepts „boundary areas”, „dialogism”, „polyfonism” taken from a M. Backhtin’s esthetic and literary theory to interpretation of inheritance „Ukrainian school” in romantic Polish literature.

7

“SYCORAX ON STAGE”: THE UNVOICED SHAKESPEAREAN FEMALE OTHER FINALLY SPEAKS IN SUNITI NAMJOSHI’S POETRY

88%

Tóth G.

Gender Studies

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2013

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vol. 12

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issue 1

126-143

EN

The witch has always been the representation of an unspeakable absence. Sycorax embodies all silenced African women, experiencing double patriarchy (a term used by Omofolabo Ajayi-Soyinka). Associated with the margins, she represented the barbarian Other to European culture. Sycorax decolonizes the male-dominated world of Prospero: from absence, she is turned into presence, as she constructs her subjective narrative

8

Dialogisme et interprétation dans la fiction à récit-cadre romantique

88%

Feuillebois V.

Romanica Wratislaviensia

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2013

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vol. 60

159 - 167

EN

Since the first conceptualizations of polyphony and dialogism by Mikhail Bakhtine, Romantic literature has usually been excluded from the field opened by the Russian critic: according to him, this literature exemplifies a monologic attitude towards the composition of the text, where the voice of the author is always in control and completely closed to any other source of language except the transcendant link stimulated by prophetic speech. But Romantic literature, and especially Russian Romantic literature, offers a rich corpus of fictions in dialogue, in which we can read an intuition of the polyphonic quality of every linguistic act. Though these texts are often read as non-dialogic, this paper attempts at taking a new look at them, through the question of interpretation and its connection to dialogism. I aim at showing that, far from being monologic structures disguised in a dialogic form, they display a dialogic conception of speech, where the focus is on the exchange between locutors around an essentially ambiguous and plural speech act, rather than on the fetichization of the author’s voice or the ideologic unity of the text presented.

9

Dialogue-based school practices as a means of reducing conceptual fossilisation in language learning

88%

Daszkiewicz M., Kerslake L.

Kwartalnik Pedagogiczny

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2019

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vol. 64(1(251))

183-194

EN

In language studies, fossilization is associated with the formation of permanent intermediate systems and subsystems. The interlanguage that develops between L1 and L2 (Selinker 1972) becomes embedded, rather than the learner continuing to develop increasing proficiency in the L2. As a language learner remains deficient in the target language (TL), it is important to attempt to mitigate this process and its negative effects. From this perspective, a task of the language teacher is to identify pedagogies which can prevent students from becoming lexically entrenched. In this paper, we advocate dialogic pedagogy as one which can reduce the likelihood of fossilisation occurring and which emphasises collaboration between learners, making their learning experiences meaningful. A core element of dialogic teaching and learning is the role of talk in the classroom in stimulating and advancing students’ learning and understanding. We propose that prioritising the oral component of language learning through dialogic pedagogy can reduce fossilisation because misconceptions do not remain unchallenged and become ingrained. A culture of dialogue in which the voices of all learners and teachers are heard and responded to is one in which learners’ exchanges contribute to extended understanding for all of those taking part in the dialogue.

10

Композиционная роль диалога в книге Чернобыльская молитва

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Штранц-Никитина В.

Poznańskie Studia Slawistyczne

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2020

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issue 19

321-347

EN

The paper deals with some specific features of dialogism in the book Chernobyl Prayer: A Chronicle of the Future by the Belarusian Nobel Laureate Svetlana Alexievich. As the title implies the article investigates typology of the dialogue in the text which is based on the Bakhtin’s analysis of the concept of the dialogue and polyphony. The article describes some principles of dialogism in relation to the composition of the text.

11

Mapping Multiple Voices in B. S. Johnson’s House Mother Normal

75%

Malicka J.

Anglica. An International Journal of English Studies

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2012

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issue 21/1

41-60

EN

The present article is an attempt to analyse House Mother Normal – a littleresearched novel by the British experimental novelist B. S. Johnson. Starting with a general discussion of the author’s literary tenets, the analysis then focuses on the novel at hand, special emphasis being given to the ways in which it maintains continuity with Johnson’s previous works, as well as to the areas in which divergence from the author’s oeuvre is visible. Following these remarks, a question is posed concerning the somewhat complex relationship between the characters and the narrator in the novel, the main problem in this respect being the extent to which the narrator, if indeed present at all, is visible in the text. Finally, the focus of the article shifts to the novel’s multivoicedness, which is then discussed in terms of Bakhtinian notions of polyphony and dialogism. The subsequent analysis of selected excerpts from the novel demonstrates that House Mother Normal for the most part eludes any easy classification and thus subsuming it under Bakhtin’s categories is as seemingly easy as it is problematic and disputable.

12

“Let’s Talk”: Promoting Dialogue and Answerability in Critical Humanities Education with Permeable Curriculum and an Adda-Based Pedagogy

75%

Dutta R.

Kultura-Społeczeństwo-Edukacja

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2015

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vol. 7

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issue 1

35-59

EN

Building on Moje et al and Dyson’s work within a Bakhtinian framework of dialogism and ethics of answerability, the paper argues the need for a critical humanities educator to create dialogic learning spaces within classrooms that would be engaging for students and where students would be encouraged to draw from their various ‘funds of knowledge’ in order to connect their ‘school-world’ with their other social worlds. The paper points out the interconnected nature of our knowing-in-the-world and suggests that all teachers, but especially teachers of critical humanities or social sciences adopt an adda-based pedagogy through a permeable curriculum for promoting wholesome, student-cantered learning in colleges and universities that would harness students’ various ‘funds of knowledge’ both in and outside classrooms. The paper argues that even though the use of adda in the classroom, like other similarly negotiated curricula, does generate some challenges for educators, yet the benefits of using an adda-based pedagogy in the classroom far out-weigh its disadvantages in the creation of a democratic, equitable and engaging learning environment in classrooms.

13

“What is the date today?”: A dialogist perspective on expert EFL teachers’ classroom interaction

75%

Tůma F.

Journal of Language and Cultural Education

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2015

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vol. 3

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issue 3

52-60

EN

This article presents a micro-analysis of an EFL classroom episode in which the teacher and the pupils worked on the concepts “date” and “day” (and relatedly saying the date in English), which the learners had not fully internalized yet. Conversation analysis (CA) and concepts from sociocultural theory (SCT) are used in the analysis to reveal how the mutual understanding proceeded. It is argued that the presented dialogist perspective can cast light on the intricacies of the teaching and learning processes.

14

Překpoklady a metody dialogického výzkumu v psychoterapii

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Doležal P., Čevelíček M.

Československá psychologie (Czechoslovak Psychology)

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2017

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vol. 61

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issue 1

16-28

EN

The present text introduces the dialogical paradigm (dialogism) as a framework for research on psychotherapeutic process. First, basic assumptions of dialogism and related terminology are described. Then, two identified research directions are introduced. The first one focuses on research of therapeutic dyads and is connected to the Dialogical Self Theory and Dialogical Sequence Analysis (DSA ) in the context of Assimilation Model. Analysis of dialogical relationship patterns and DSA are described in detail. The other direction is focused on sessions with multiple actors and is grounded in a normative assumption of usefulness of polyphony in psychotherapy. Dialogical Investigations method is described in detail. Dialogism and related methods are discussed regarding limits and potential usefulness for psychotherapy process research.

CS

Předkládaný text představuje dialogické paradigma (dialogismus) jako rámec pro výzkum psychoterapeutického procesu. Popisuje základní východiska dialogismu a související pojmový aparát. Identifikovány byly dva základní proudy, kterými se výzkum psychoterapeutického procesu v rámci dialogismu doposud ubíral. První se zaměřuje převážně na výzkum sezení ve dvojici, je spojen s teorií dialogického self a využitím dialogické sekvenční analýzy (DSA ) v rámci asimilačního modelu. Podrobněji jsou představeny metoda analýzy dialogických vztahových vzorců a DSA . Druhý se zaměřuje na analýzu setkání s více aktéry a vychází z normativního předpokladu o užitečnosti polyfonie (mnohohlasosti) v psychoterapii. Detailněji je představena metoda dialogických zkoumání. Na závěr jsou dialogismus a z něj vycházející metody diskutovány s ohledem na potenciální přínosy terapeutickému výzkumu a možné limity.

15

El dialoguismo femenino en el Diálogo entre el Viejo, el Amor y la Mujer hermosa

75%

Ratcliffe M.

Estudios Hispánicos

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2015

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vol. 23

55-64

EN

This article begins a literary dialogue between two specific works written at the end of the fifteenth century: Diálogo entre el Amor y un viejo by Rodrigo Cota and the anonymous Diálogo entre el Viejo, el Amor y la Mujer hermosa which lead to Celestina. Miola, who discovered, published and studied the anonymous Diálogo in 1886, was impressed by the depth of characterization. Later critics have compared these texts to Celestina in search of sources or biographical clues for Rojas’ text. In Celestina many lives crisscross whereas in Cota’s Diálogo, much like the medieval scholarly and clerical debates all written by men, there are but two voices. In the anonymous Diálogo, the third voice is that of the beautiful woman who, in her own voice and as a harbinger of literary change, speaks as an independent modern creation. Future work aims to determine how these women speak, what they say and whether their ideas differ from those expressed by male figures.

16

K poznámke pod čiarou: Bachtinov termín „chronotop“ v kontexte materializmu

63%

Duleba M.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2021

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vol. 31

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issue 2

57-72

EN

This article contributes to the scholarly discourse on Mikhail Bakhtin’s ambiguous concept of “chronotope” (time-space). As Bakhtin “explains” his understanding of “time” and “space” in Forms of Time and Chronotope in the Novel in the footnote alluding to Kant’s “Transcendental Aesthetics”, claiming to understand “time” and “space” not as “transcendental” but as the forms of the “most immediate reality”, various commentators have focused on the Bakhtin-Kant connection to grasp the term’s conceptual meaning. Responding to the previous scholarly discourse, which has not taken into the consideration the materialist dimension of Bakhtin’s thought, the study reconstructs Bakhtin’s axiology present in his analysis of particular chronotopes and subsequently illustrates chronotope as a materialist anti-ideological tool.

17

Congruence de deux théories polyphoniques dans l’analyse stylistique des textes romanesques : intertextualité et dialogisme dans L’état z’héros ou la guerre des gaous de Maurice Bandaman

63%

Coulibaly D.

e-Scripta Romanica

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2022

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vol. 10

1-12

EN

L’état z’héros is a work in which Maurice Bandaman integrates the tale into the frame structure of the novel. Its discursivity is based on a number of oral intertexts including ritual songs, stanzas, opuses and references integrated in the form of a literary collage. At the narrative level, the voices of the narrators interact with those of the characters in dialogues and autonomous monologues by characters or narrators. These dialogic relationships highlight narrative metalepses that are polyphonic. It is one of the marks of literarity, the main driving force of stylistic analysis. The aims of this article are, firstly, to show that dialogism and intertextuality are two approaches echoing each other in the stylistic analysis of novelistic texts and, secondly, to prove that intertextual relations lead to polyphony and bring literarity to the fore.

FR

L’état z’héros est une œuvre dans laquelle Maurice Bandaman intègre le conte dans la structure du roman. Sa discursivité repose sur un certain nombre d’intertextes oraux dont les chants rituels, les stances, les opus et des références intégrées sous la forme d’un collage littéraire. Au niveau de la narration, la voix des narrateurs interagit avec celles des personnages dans les dialogues et les monologues autonomes des personnages ou des narrateurs. Ces relations dialogiques mettent en relief des métalepses narratives qui ressortent de la polyphonie. Celle-ci est l’une des marques de la littérarité, principal moteur de l’analyse stylistique. À travers un double objectif, primo, il s’agit de montrer que le dialogisme et l’intertextualité sont deux approches qui se font écho dans l’analyse stylistique des textes romanesques, en l’occurrence de ce texte de Maurice Bandaman. Secondo, il est question de prouver que les relations intertextuelles débouchent sur la polyphonie et mettent au premier plan la littérarité.

18

«Nie można obejść się bez teatru»: O poziomach metateatralności w «Mewie» Antona Czechowa

63%

Hasiuk M.

Pamiętnik Teatralny

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2016

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vol. 65

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issue 3

151-168

EN

The Seagull (1896) holds a special place in the oeuvre of Anton Chekhov for the richness of metatheatrical devices deployed in it. It is the only drama by the playwright where one can find all the kinds of metatheatricality distinguished by Sławomir Świontek. It may be worth to add a fourth kind that manifests itself at the level of composition of the dramatic form and has been defined as “a play with genres” (Ewa Partyga) or “quoting of structures” (Danuta Danek). The present study of kinds of metatheatricality reveals Chekhov’s emphasis on the multitude of ways in which the audience can play a creative part in the theatre experience. The dramatist vindicates some elements hitherto considered to be secondary, passive, and weak. At the same time, Chekhov uses the image of the theatre of everyday life in order to expose the inner workings of society’s oppression that crushes its most sensitive individuals. This situation becomes a mirror for the processes going on within the self (as conceived of by the Dialogical Self Theory by Hubert Hermans). The disfunctionality of the world presented in the drama indicates fractures within the human psyche, where weaker personal positions must be suppressed or eradicated. The aim of the metatheatrical devices utilised in The Seagull is to construct a multi-level representation of reality and to display the multitude and changeability of personal perspectives on the reality, which illuminate one another. Out of this multitude of points of view and diversity of personal voices, Chekhov constructs a thoroughly modern representation of the world, whose governing principle combines dialogicality and theatricality.

PL

Mewa (1896) zajmuje szczególne miejsce w twórczości Antoniego Czechowa ze względu na bogactwo zastosowanych w niej środków metateatralnych. Jest to jedyny jego dramat, w którym można odnaleźć wszystkie rodzaje metateatralności wyróżnione przez Sławomira Świontka. Warto być może dodać jeszcze czwarty rodzaj, który przejawia się na poziomie kompozycji formy dramatycznej i został określony jako "gry genologiczne" (Ewa Partyga) lub "cytowanie struktur" (Danuta Danek). Niniejsze studium typów metateatralności ujawnia, że Czechow kładzie nacisk na wielość sposobów, w jakie publiczność może odgrywać twórczą rolę w doświadczeniu teatralnym i przywraca wartość postawom dotychczas uważane za drugorzędne, pasywne i słabe. Jednocześnie Czechow wykorzystuje obraz teatru życia codziennego, aby obnażyć wewnętrzne mechanizmy opresji społecznej, która miażdży najbardziej wrażliwe jednostki. Sytuacja ta staje się zwierciadłem dla procesów zachodzących wewnątrz jaźni (zgodnie z teorią dialogicznego ja Huberta Hermansa). Dysfunkcyjność świata przedstawionego w dramacie wskazuje na pęknięcia w ludzkiej psychice, gdzie słabsze pozycje osobiste muszą zostać stłumione lub wykorzenione. Celem metateatralnych środków zastosowanych w Mewie jest zbudowanie wielopoziomowej reprezentacji rzeczywistości oraz ukazanie wielości i zmienności osobistych perspektyw na rzeczywistość, które wzajemnie się oświetlają. Z tej wielości punktów widzenia i różnorodności osobistych głosów Czechow konstruuje na wskroś nowoczesną reprezentację świata, której naczelną zasadą jest połączenie dialogiczności i teatralności.

19

Is that intertext ‘singing’?! ‘Plultiplied’ multivoicedness in Joyce’s Ulysses and its amplification in Italian (re)translations: A case study

63%

Paulis M.

Świat i Słowo

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2023

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vol. 41

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issue 2

113-132

EN

Although Mikhail Bakhtin never used the term intertextuality in any of his writings, the dialogic concept that every utterance echoes other utterances and, analogously, every text also echoes other texts, provided the basis for Kristeva’s (1966) theory of intertextuality and has proved to be of fundamental importance for the study of literature ever since. The presence of intertextual elements in a literary text (such as citations of and allusions to other literary works) always represents a challenge to the translator. In this article we explore different types of intertextuality in James Joyce’s Ulysses. During our analysis, we describe how the source text, the first Italian translation, and no less than six subsequent retranslations interact with one another from a dialogic perspective, in the presence of such elements. Because of the abundance of intertextuality, stylistic and linguistic variety, and multivoicedness, Joyce’s masterpiece is a well-known example of apolyphonic novel. While analyzing dialogic interactions taking place within the “macrotext” constituted by the 36 source text and its Italian (re)translations, we therefore also discuss the effects generated by the way in which intertextuality is rendered in (re)translation. The specific ways in which translations recreate the original’s multivoicedness orient the dialogic experience of the recipients of the (re)translations.

20

Menażeria osobowości i kakofonia głosów warszawskiej ulicy w prozie Sylwii Chutnik i Krzysztofa Vargi

54%

Tryksza A.

Stylistyka

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2016

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vol. 25

389-407

EN

The analysis covered interesting, in terms of kind, fiction, language, and above all narration, prose texts of Sylvia Chutnik and the last novel by Krzysztof Varga. The winner of the “Polityka Passport” combines the high with the low – what is full of acute seriousness and authenticity with what is gaudy, vulgar, cheap and sensational. From the collision of contradictions arise portraits of women, people of Warsaw streets, daily and festive situations, sketched with humor and seriousness, distance and irony. Whereas “Massacre” by Varga in a satirically-ironic form, feature as to its spirit and marked with distance, diagnoses contemporary Polish afflictions focused as in a lens in the Warsaw area. The main context are poetic issues of the literary work, which is why the centre of gravity was placed on the most interesting, in the case of these novels, way of telling the story and presenting the main characters. It is clearly visible, on the one hand, that they are rooted in traditional storytelling techniques, mainly Bakhtin’s dialogism, but on the other hand, the novels, within the meaning of the author, set new trails, new possibilities of organising the narrator’s and characters’ utterances. Technical measures, involving the combination of “voices”, their partial merger, mutual influence and other trans- formations result, paradoxically, in a breakup. The predominant effect, resulting from the application of these measures, related to the use of “someone else’s speech”, is even greater stratification of consciousness and languages, their atomisation and separation, without the possibility of participating in the real, not illusory dialogue. In effect, an image is created of a socio-linguistic magma with separated, although apparently linked consciousnesses – a cacophony of voices.

Refine search results

Le rôle des noms propres dans les détournements : Le cas des bandeaux dans un journal télévisé satiriqu

Pour une étude linguistique du sens en discours - Jacques Bres, Aleksandra Nowakowska, Jean-Marc Sarale, Petite grammaire alphabétique du dialogisme (2019).Éditions Classiques Garnier Paris, Collection Domaines Linguistiques, 420 pages

Dialogism and classroom interaction in English language teaching: A review of Czech research

Uruchamianie pamięci osobistej w epistolarnych ujęciach literatury dziecięcej

Между диалогичностью и интертекстуальностью. Проблема текста в тексте на примере рассказа Бориса Лавренева Сорок первый

Поетика романтичноï монокультурностi та питання дiалопчностi

“SYCORAX ON STAGE”: THE UNVOICED SHAKESPEAREAN FEMALE OTHER FINALLY SPEAKS IN SUNITI NAMJOSHI’S POETRY

Dialogisme et interprétation dans la fiction à récit-cadre romantique

Dialogue-based school practices as a means of reducing conceptual fossilisation in language learning

Композиционная роль диалога в книге Чернобыльская молитва

Mapping Multiple Voices in B. S. Johnson’s House Mother Normal

“Let’s Talk”: Promoting Dialogue and Answerability in Critical Humanities Education with Permeable Curriculum and an Adda-Based Pedagogy

“What is the date today?”: A dialogist perspective on expert EFL teachers’ classroom interaction

Překpoklady a metody dialogického výzkumu v psychoterapii

El dialoguismo femenino en el Diálogo entre el Viejo, el Amor y la Mujer hermosa

K poznámke pod čiarou: Bachtinov termín „chronotop“ v kontexte materializmu

Congruence de deux théories polyphoniques dans l’analyse stylistique des textes romanesques : intertextualité et dialogisme dans L’état z’héros ou la guerre des gaous de Maurice Bandaman

«Nie można obejść się bez teatru»: O poziomach metateatralności w «Mewie» Antona Czechowa

Is that intertext ‘singing’?! ‘Plultiplied’ multivoicedness in Joyce’s Ulysses and its amplification in Italian (re)translations: A case study

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